Article of Faith, for Orchestra - Full Score. By William Schuman. Orchestra. First performance: Cincinatti Symphony Orchestra, under the direction of Thor Johnson, November 4, 1955. Full Score - Miniature. 56 pages. Duration 18:00. Published by Theodore Presser Company.

For Mezzo-Soprano and Chamber Orchestra. By Carl Ruggles. Text: C.H. Meltzer; Robert Browning; Walt Whitman. Chamber o rchestra. This edition: full score. Classical. Full Score - Large. 24 pages. Duration 6:10. Published by Theodore Presser Company.

Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen, Christin Heitmann. For orchestra. This edition: Urtext edition. Stapled. Score. Text Language: German/English. Hob. I:48. Duration 27 minutes. Published by Baerenreiter Verlag

Orchestra

SKU: BA.BA06861

Sinfonie (1923-1928). Composed by Leos Janacek. Arranged by Leoš Faltus and Miloš Štedron. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek H/3. Complete edition, Score, Set of parts. Duration 40 minutes. Baerenreiter Verlag #BA06861_00. Published by Baerenreiter Verlag (BA.BA06861).

ISBN 9790260104211. 34.3 x 27 cm inches.

Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.

“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.

A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.

To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.

It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.

One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra

SKU: PR.41641203L

Composed by Chen Yi. Large Score. With Standard notation. Theodore Presser Company #416-41203L. Published by Theodore Presser Company (PR.41641203L).

UPC: 680160639533. 11x14 inches.

El eanor’s Gift honors Eleanor Roosevelt’s tireless efforts in advancing recognition of individuals’rights and freedoms, commissioned for the 50th anniversary of the acceptance by the 48 nations of theUniversal Declaration of Human Rights. The composer was written: In the concerto, I express my deepsympathy for the people, especially for the women who have suffered or are suffering from violence and illtreatment, who don’t have the rights and.

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra

SKU: JK.20034

Composed by K. Newell Dayley. Arranged by Sam Cardon. Difficulty Medium, Orchestral Orchestrations, Jesus Christ - Savior, Love. Christian, Inspirational. Duration 3:40. Jackman Music Corporation #20034. Published by Jackman Music Corporation (JK.20034).

John 15:10-12.

Score and parts to accompany the full-choir arrangement of I Feel My Savior's Love, recorded by the Mormon Tabernacle Choir (#00402).
Orchestratio n includes:
Full Score
Flute
Oboe
Clarinet in B Flat
Harp
Piano
Percussion I (Light Triangle, Finger Cymbals)
Percussion II (B.D., Sus. Cymbal)
Violin I (4)
Violin II (4)
Viola (4)
Violoncello (3)
Doublebass (2)
Composer: K. Newell Dayley
Arranger: Sam Cardon
Lyricist: Ralph G. Rogers, K. Newell Dayley and Laurie Huffman
Difficulty: Medium
Performance time: 3:40
Reference: John 15:10-12.

By Earl Kim. Orchestra. For 3 Flutes (3rd Doubles Piccolo), 2 Oboes, 3 Clarinets in Bb (3rd Doubles Bass Clarinet), 2 Bassoons, 3 Horns, 3 Trumpets in Bb, 3 Trombones (3rd Doubles Bass Trombone), Percussion [Susp. Cymbals, High Conga Drum, Small Bass Drum, Covered Drum ('pitch' Shou. World Premiere: New York Philharmonic, I. Perlman, violin, Zubin Mehta, conductor; Avery Fisher Hall, New York. Contemporary. Full score (study). Standard notation. 68 pages. Duration 22 minutes. Published by Theodore Presser Company

Concert Band; Orchestra - Grade 1

SKU: AP.49165S

Composed by George Gershwin and Ira Gershwin. Arranged by Michael Story. 5 or More; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Quartet; Single Titles; Solo Small Ensembles. Pop Beginning Band. Classic Pop; Jazz. Score. 16 pages. Duration 1:45. Alfred Music #00-49165S. Published by Alfred Music (AP.49165S).

UPC: 038081563688. English.

This version of I Got Rhythm arranged by Michael Story is part of our Belwin FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.

This timeless George and Ira Gershwin jazz classic has been covered by dozens of popular artists. The song remains one of the most recognizable melodies from the 20th century. In a charismatic contemporary arrangement, I Got Rhythm is accessible to first-year students and will be an upbeat addition to any program. (1:45) This title is available in MakeMusic Cloud.

Percussion Accompaniment Track Downloads:
with click.
without click.

Concert Band; Orchestra - Grade 1

SKU: AP.49165

Composed by George Gershwin and Ira Gershwin. Arranged by Michael Story. 5 or More; MakeMusic Cloud; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Quartet; Single Titles; Solo Small Ensembles. Pop Beginning Band. Classic Pop; Jazz. Score and Part(s). 76 pages. Duration 1:45. Alfred Music #00-49165. Published by Alfred Music (AP.49165).

UPC: 038081563671. English.

This version of I Got Rhythm arranged by Michael Story is part of our Belwin FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.

This timeless George and Ira Gershwin jazz classic has been covered by dozens of popular artists. The song remains one of the most recognizable melodies from the 20th century. In a charismatic contemporary arrangement, I Got Rhythm is accessible to first-year students and will be an upbeat addition to any program. (1:45) This title is available in MakeMusic Cloud.

Percussion Accompaniment Track Downloads:
with click.
without click.

Orchestra

SKU: BA.BA10986

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Score. Hob. I:77. Baerenreiter Verlag #BA10986_00. Published by Baerenreiter Verlag (BA.BA10986).

ISBN 9790006569106. 31 x 24.3 cm inches. Key: B-flat major. Preface: Andreas Friesenhagen.

Haydn composed his Symphony No. 77 along with his Symphonies Nos. 76 and 78 for a planned journey to England that never took place. Nonetheless, H.C. Robbins Landon calls these works the “English symphonies” as they are stylistically closely linked to the “London Bach”, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ‘Leicht und nicht vil Concertirend”, meaning that they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.

Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. The Bärenreiter catalogue now includes the complete performance material for several “Sturm und Drang” symphonies as well as all the London and Paris symphonies.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra

SKU: BA.BA10985

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Score. Hob. I:78. Baerenreiter Verlag #BA10985_00. Published by Baerenreiter Verlag (BA.BA10985).

ISBN 9790006568123. 31 x 24.3 cm inches. Key: C minor. Preface: Andreas Friesenhagen.

Along with Symphonies Nos. 76 and 77 Haydn composed Symphony No. 78 for a journey to England that never took place. Nonetheless, H. C. Robbins Landon referred to these works as the “English Symphonies” as they are stylistically closely linked to “the London Bach”, Johann Christian Bach. In a letter Haydn wrote to his Paris publisher Charles-Georges Boyer in 1783, he described the works as “Leicht und nicht vil Concertirend”, meaning they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.

Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas, and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. To date, Bärenreiter has published the complete performance material for several of Haydn’s “Sturm und Drang” symphonies as well as the complete London and Paris symphonies.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

By Donald Erb. Orchestra. For Flute, Oboe, English Horn, Clarinet, Bass Clarinet in Bb, Bassoon, Contra Bassoon, Horn, Trumpet, Tenor Trombone, Bass Trombone, Tuba, Timpani, Vibraphone, Marimba, Crotales, Chimes, Harmonica (in C), Small Bass Drum, Tuned Drums, Gallon Jug, Small Mounted Wine Glass, Large Suspended Cymbal, Large Suspended Cymbal, Snare Drum, Glockenspiel, Roto-Toms, Harmonica (in B), Harmonica (in D), Medium Bass Drum, Medium Bass Drum, Wine Glasses (Partially Filled with Water), Medium Mounted Wine Glass, Medium Suspended Cymbal, Medium Tam-Tam, Vibraphone (Normal Mallets and 2 Double Bass Bows), Xylophone, Harmonica (in Bb), Nipple Gong (in C), Bass Drum, Tom-Tom, Wine Glass, Small Suspended Cymbal, Small Tam-Tam, Harp, Violin I, Violin II, Viola, Cello, Contrabass, Piano, Celesta, Yamaha Dx7 with Phase Shifter. Full Score - Large. 90 pages. Published by Theodore Presser Company.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Orchestra

SKU: HL.51489069

Study Score. Composed by Franz Joseph Haydn. Edited by Horst Walter. Henle Music Folios. Classical. Softcover. 93 pages. G. Henle #HN9069. Published by G. Henle (HL.51489069).

UPC: 840126951905. 6.75x9.5x0.291 inches.

Haydn arrived in London at the beginning of February 1794 for his second stay in England. By this time, he had completed three movements of the Symphony in D major Hob. I:101, and the finished work was premiered on 3 March. Even the members of the audience at the premiere took note of the pendulum-like accompanying figure in the second movement, which was in fact explicitly mentioned in a review: “The management of the accompaniments of the andante, though perfectly simple, was masterly.” The even tick-tock oscillations sparked the imagination of listeners so much, apparently, that the nickname “Clock” came into use later in the nineteenth century. And while this name may have nothing to do with Haydn, is it even possible to listen to the famous second movement today without making the association? To everyone wishing to become more acquainted with this symphony, let this inexpensive study edition be commended - with reliable commentaries on its genesis, sources, and edition as well as an unassailable musical text taken from the Haydn Complete Edition.

Flute; Orchestra (Study Score)

SKU: HL.49010230

In G Major. Composed by Wolfgang Amadeus Mozart. Edited by Rudolf Gerber. Arranged by Rudolf Gerber. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1778. 56 pages. Eulenburg Edition #ETP 779. Published by Eulenburg Edition (HL.49010230).

ISBN 9783795769024. 5.25x7.5x0.215 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Orchestra (Study Score)

SKU: HL.49010332

In D Major. Composed by Wolfgang Amadeus Mozart. Edited by Rudolf Gerber. Arranged by Rudolf Gerber. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1776. 32 pages. Eulenburg Edition #ETP 859. Published by Eulenburg Edition (HL.49010332).

ISBN 9783795769901. UPC: 841886015319. 5.25x7.5x0.1 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Orchestra Study Score. Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen. Henle Study Scores. Classical. Softcover. 52 pages. G. Henle #HN9056. Published by G. Henle

(For Orchestra). By Johann Pachelbel (1653-1706). Arranged by Philip Gordon. Orchestra. For Flute, Oboe, Clarinet I, Clarinet II, Alto Saxophone, Tenor Saxophone, Bassoon, Horn I, Horn II, Trumpet I, Trumpet II, Tenor, Tuba, Timpani, Piano and Conductor, Flute, Oboe, Clarinet I, Clarinet II, Alto Saxophone, Tenor Saxophone, Bassoon, Horn I, Horn I. Baroque. Score and parts. Standard notation. 12 pages. Duration 2:45

Orchestra - Grade 4

SKU: WD.080689111396

Composed by Richard Kingsmore. Arranged by Richard Kingsmore. Coronation Series. Modern Christian, Sacred, Orchestral. Orchestration. Word Music #080689111396. Published by Word Music (WD.080689111396).

UPC: 080689111396.

About Coronation Series

Cor onation Series Instrumentation:
Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles Tuba), Alto Sax (doubles French Horn), Tenor Sax/Baritone T.C. (doubles Trombone,) - All charts released since 3/1/02 include a Bari Sax part that doubles Tuba.
Brass: 2 French Horn, 3 Trumpet, 3 Trombone, Tuba
Percussio n:Percussion
Strings: 2 Violin*, Viola* Cello/Bassoon, String Bass
*simplified parts included
Addit ional Parts: Harp, Rhythm, String Reduction

Orchestra - Grade 2

SKU: WD.080689269295

Composed by Michael Lawrence. Arranged by Michael Lawrence. Sunday Sounds Series. Modern Christian, Sacred, Orchestral. Orchestration. Word Music #080689269295. Published by Word Music (WD.080689269295).

UPC: 080689269295.

About Sunday Sounds Series

Sun day Sounds Series Instrumentation:
Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles C Bass), Alto Sax (doubles French Horn), Tenor Sax (doubles Trombone,) Bari Sax (doubles C Bass)
Brass: 2 French Horn, 3 Trumpet, 2 Trombone
Percu ssion: Percussion
Str ings: 2 Violin, Viola
Addition al Parts: C Bass (Bassoon, Bass Trombone, Tuba, Cello, String Bass), Piano/Bass/Guitar, Drum Set, Harp, String Reduction

Orchestra - Grade 2

SKU: WD.080689552786

Composed by Billy Payne. Arranged by Billy Payne. Sunday Sounds Series. Eastertide. Orchestration. Word Music #080689552786. Published by Word Music (WD.080689552786).

UPC: 080689552786.

About Sunday Sounds Series

Sun day Sounds Series Instrumentation:
Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles C Bass), Alto Sax (doubles French Horn), Tenor Sax (doubles Trombone,) Bari Sax (doubles C Bass)
Brass: 2 French Horn, 3 Trumpet, 2 Trombone
Percu ssion: Percussion
Str ings: 2 Violin, Viola
Addition al Parts: C Bass (Bassoon, Bass Trombone, Tuba, Cello, String Bass), Piano/Bass/Guitar, Drum Set, Harp, String Reduction

Orchestra (Fl, 2 Ob, bassoon, 2 Hn, 2 Trp, timpani, 2 Violin, Viola, Cello, Double Bass)

SKU: BA.BA10981

Composed by Franz Joseph Haydn. Edited by Andreas Friesenhagen. This edition: urtext edition. Stapled. Score. Hob. I:90. Baerenreiter Verlag #BA10981_00. Published by Baerenreiter Verlag (BA.BA10981).

ISBN 9790006564620. 31 x 24.3 cm inches. Key: C major. Preface: Andreas Friesenhagen.

Haydn ’s Symphony in C major Hob. I: 90, dated 1788 in the autograph, belongs to a group of works that he composed between the Paris symphonies (Hob. I: 82–87) and the London symphonies (Hob. I: 93–104). It thus belongs to the last symphonies he wrote before his journeys to England in 1791–92 and 1794–95. Continuing the collaboration between Bärenreiter and the G. Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. With Symphony No. 90, Bärenreiter has now published the complete performance material for all the symphonies from Nos. 82 to 104 as well as several Sturm und Drang symphonies.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Arranged by Emily Crocker, John Moss. String Orchestra. Published by Hal Leonard.